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	<title>Beneath the Cover &#187; Editing</title>
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		<title>Grammar Police</title>
		<link>http://www.beneaththecover.com/2010/01/18/grammar-police/</link>
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		<pubDate>Mon, 18 Jan 2010 05:20:26 +0000</pubDate>
		<dc:creator>Susan Goodsell</dc:creator>
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		<description><![CDATA[I meant to start this article earlier, but I was too busy on my <a href="http://www.facebook.com/">Facebook</a> page taking The Ultimate Grammar Quiz. (If you have a Facebook account, <a href="http://apps.facebook.com/theultimategrammarqu/quiz/questions?quiz_metric%5bactivated_at%5d=1263708008&#38;quiz_metric%5bclicked_attribute%5d=feeds_clicked&#38;_fb_fromhash=df3e889afd7d91da8814ba43179fb6d8&#38;ref=nf">click here</a> to take the quiz.)
Got an A+! Yes! Not a surprise, considering my friends call on me to proofread&#8230; <a href="http://www.beneaththecover.com/2010/01/18/grammar-police/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>I meant to start this article earlier, but I was too busy on my <a href="http://www.facebook.com/"><strong>Facebook</strong></a> page taking The Ultimate Grammar Quiz. (If you have a Facebook account, <a href="http://apps.facebook.com/theultimategrammarqu/quiz/questions?quiz_metric%5bactivated_at%5d=1263708008&amp;quiz_metric%5bclicked_attribute%5d=feeds_clicked&amp;_fb_fromhash=df3e889afd7d91da8814ba43179fb6d8&amp;ref=nf"><strong>click here</strong></a> to take the quiz.)</p>
<p>Got an A+! Yes! Not a surprise, considering my friends call on me to proofread everything from documents to Dear John letters (really) to business emails.</p>
<p>When my daughter was younger, if someone misused a word in our house (such as, “me and my brother went to Disneyland”) we would look at one another and shout “Grammar Police!!” until the offending sentence was said correctly. It didn’t take long for her friends to jump on the grammar police bandwagon and more than a few of their friends were verbally pounced on amid shrieks and laughter.</p>
<p>Now, at 16, she’s much too cool to play that game, but that doesn’t stop her from occasionally correcting her boyfriend’s poor grammar. The apple doesn’t fall far from the tree.</p>
<p>I admit I fill the role of Chief of the Grammar Police and it’s a 24/7 job. One simply cannot turn it on and off at will.</p>
<p>If you gleefully shout, “I do that!” upon reading the following scenarios, then you’re part of the department. Wear your badge proudly.</p>
<p>•	You celebrated the 2004 U.S. book release of <a href="http://www.amazon.com/Eats-Shoots-Leaves-Tolerance-Punctuation/dp/1592400876#noop"><strong><em>Eats, Shoots and Leaves: The Zero Tolerance Approach to Punctuation</em></strong></a> by giving copies to all your friends and business associates, and you secretly feel the author, Lynne Truss, is a long-lost twin separated from you at birth. (Or is it just me? The paternal side of my family is British, after all. Coincidence? Lynne, you know where to find me.)</p>
<p>•	Merely walking by a sign in the mall proclaiming “All cd’s and dvd’s now on sale” sends you to Mrs. Fields for some soothing carbs. Or perhaps to Staples for some wite-out for all those misplaced apostrophes. (Come to think of it, even purchasing wite-out is frustrating – why didn’t BIC just name it ‘white-out?’)</p>
<p>•	You refuse to shop in the “15 items or less” line at the grocery store because you’re boycotting the sign until it properly reads “fewer.”</p>
<p>•	You’re the only one in your circle who sends text messages in grammatically correct sentences with full punctuation. We know that “r u L8 2day?” should never take the place of “You may be running a bit late today due to the rain. Let me know when to expect you.”</p>
<p>•	You refuse to walk into a room posting a sign that reads “Parent’s meeting” until they clarify which parent, or do they in fact mean Parents’ meeting, in which case all parents are welcome?</p>
<p>•	When you ask a salesclerk how they are and they say, “I’m doing good,” you then ask them if they are helping orphans, working at a soup kitchen, or volunteering some other way in the community. Surely, if they meant “I’m doing well,” they would have answered properly.</p>
<p>•	Hearing the word irregardless is like fingernails on a chalkboard to you. Beware the uneducated person who utters this word.</p>
<p>•	You recognize the impossibility of a friend who writes, “I’m literally up to my ears in paperwork.” Uhh…sincerely doubt that. She may be metaphorically up to her ears, but “literally” simply cannot be used unless it is true exactly as written.</p>
<p>•	You refuse to buy any product that is misspelled on purpose, such as Rice Krispies or Klean Kanteen (I found this product recently when I was looking for reusable water bottles.)</p>
<p>•	You use neither spellcheck nor grammar check on your computer. Why would you?</p>
<p>Grammar abuses are rampant. Last year, American Eagle Outfitters was selling a shirt proclaiming, “Love the one your with.” I am flummoxed how something mass produced made it past the designer, the manufacturer, the buyer, the store managers, and onto the chests of our impressionable youth who don’t even realize it’s an error because they themselves don’t know the difference between your and you’re.</p>
<p>It’s an outrage! Why aren’t we writing letters to Congress? Marching on Capitol Hill with our grammatically correct picket signs? Writing concise, perfectly punctuated letters to the editors of our local papers? It’s time to raise our red-pen-holding fists in the air and unite!</p>
<p>But for now, I’m back to Facebook to forward The Ultimate Grammar Quiz to my friends.</p>
<p>Rest easy, America, because the Chief of the Grammar Police and her fellow officers are out there protecting proper usage of the English language—one word at a time!</p>
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		<title>Rhetoric at Fault in Writing Crisis in US Public Schools, Claims Author of ‘Secret DNA’ E-Book on Writing</title>
		<link>http://www.beneaththecover.com/2010/01/14/rhetoric-at-fault-in-writing-crisis-in-us-public-schools-claims-author-of-%e2%80%98secret-dna%e2%80%99-e-book-on-writing/</link>
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		<pubDate>Thu, 14 Jan 2010 05:15:10 +0000</pubDate>
		<dc:creator>Press Release</dc:creator>
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		<guid isPermaLink="false">http://www.beneaththecover.com/2010/01/14/rhetoric-at-fault-in-writing-crisis-in-us-public-schools-claims-author-of-%e2%80%98secret-dna%e2%80%99-e-book-on-writing/</guid>
		<description><![CDATA[<em>There’s a crisis in US public school writing because Rhetoric emphasizes parts, not the whole, says author Bill Drew. Instead of paying attention to Rhetoric, modern writing teachers should have paid attention to Michel de Montaigne, the Father of the Essay.</em>
Provo, UT – January 14, 2010 (<a href="http://www.pressreleasepivot.com/">PressReleasePivot</a>) —&#8230; <a href="http://www.beneaththecover.com/2010/01/14/rhetoric-at-fault-in-writing-crisis-in-us-public-schools-claims-author-of-%e2%80%98secret-dna%e2%80%99-e-book-on-writing/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p><em><span style="font-size: 12pt">There’s a crisis in US public school writing because Rhetoric emphasizes parts, not the whole, says author Bill Drew. Instead of paying attention to Rhetoric, modern writing teachers should have paid attention to Michel de Montaigne, the Father of the Essay.</span></em></p>
<p><span style="font-size: 12pt">Provo, UT – January 14, 2010 (<strong><a href="http://www.pressreleasepivot.com/">PressReleasePivot</a></strong>) —</span><span style="font-size: 11pt"> Bill Drew, author of a successful new e-book on writing, ‘The Secret DNA of Writing Essays – And Everything Else’, claims Rhetoric has caused the writing crisis in US public schools. Isn’t that a rather harsh indictment of Rhetoric? “Not really,” said Drew. “What’s the dominant emphasis in teaching essay writing in public schools? Introductions, thesis statements, topic sentences, paragraphs, conclusions – all of those came straight out of Rhetoric. And those are just forms, not content. What if a writer did all those forms right, but the audience had already read the content, the ideas, before? The forms wouldn’t help.”</span></p>
<p><span style="font-size: 11pt">But forms are necessary, aren’t they? “Yes, you have to have familiar forms to convey new content and new ideas. But Rhetoric doesn’t show you how to create new content.” What about the Topics, the Commonplaces of Rhetoric? “Note that name, ‘Commonplaces’, which means things already shared and already common. Nothing new there, is there?”</span></p>
<p><span style="font-size: 11pt">So your e-book, ‘The Secret DNA of Writing Essays – And Everything Else’, teaches content but not form? “No, that’s not right. My book teaches BOTH content and form. You see, teaching only the forms of Rhetoric is a little like that famous picture of the six blind men: each blind man feels only a part of the elephant and tries to imagine what the whole is like. In the case of teaching students how to write essays with Rhetoric, teachers make students focus on the parts of an essay without helping them relate to the whole message of the essay, to ‘What’s new to the reader’. I used to do that, too, until I discovered that the OldView – NewView relationship is the whole message – the whole elephant, if you will – in whatever you write, including essays.”</span></p>
<p><span style="font-size: 11pt">Your focus on the whole instead of the parts sounds very unscientific, Mr. Drew. “On the contrary. For instance, in the 1970s, Physics Professor David Bohm said, ‘We must turn physics around. Instead of starting with parts and showing how they work together, we start with the whole.’ Science has been focusing on the whole first for some time now. Parts are relevant only as they relate to the whole. And the whole in writing is, ‘What’s new to the reader’. Cognitive psychology and linguistics have been moving toward newness and the whole message for some time, now. Writing teachers just haven’t caught on yet.”</span></p>
<p><span style="font-size: 11pt">How do you think this emphasis mainly on parts happened in writing, anyway? “It started over 2,000 years ago in ancient Greece with the ‘parts emphasis’ in Rhetoric, talking about parts, parts, parts. To be fair, Rhetoric does mention in passing that you have to keep your purpose in mind of persuading your audience, but Rhetoric doesn’t get at all specific about how to do that. It’s simply posturing, really.</span></p>
<p><span style="font-size: 11pt">“Instead of paying attention to Rhetoric, modern writing teachers should have paid attention to Michel de Montaigne, the Father of the Essay. In the first book ever on essays, Montaigne used the OldView – NewView technique. In each essay, he starts talking about some virtue such as loyalty, mentions what society thinks of it, and then he says, ‘and yet’, which introduces his NewView, which often is a NewView Reverse of society’s view. That was over four hundred years ago, and nobody seems to have noticed but me. If anyone has noticed, it hasn’t made it into the writing textbooks.”</span></p>
<p><span style="font-size: 11pt">“My company, NewView Options, is trying to turn that around with my new e-book, which is selling well on Amazon.com, and our new computer program to help students create NewView Thesis statements from their own experiences.”</span></p>
<p><span style="font-size: 11pt">Drew reports that students, teachers, and businessmen have endorsed his book. His company, NewView Options, provides several testimonials on their website, at <strong><a href="http://secretdnaofwritingessays.com/testimonials/">http://bit.ly/SecretDNAPraises</a></strong>.</span></p>
<p><span style="font-size: 11pt">Drew’s e-book, ‘The Secret DNA of Writing Essays – And Everything Else,’ is available now online at <strong><a href="http://secretdnaofwritingessays.com/buy-the-book/">http://bit.ly/BuySecretDNABook</a></strong> for $8.50. It is also available on Amazon.com as a Kindle e-book for $9.50 (several positive reviews there). The companion software, NewView Essay Services, which automates the thesis-making process in the e-book, is available at <strong><a href="http://secretdnaofwritingessays.com/buy-services/">http://bit.ly/SecretDNASoftware</a></strong> on a subscription basis for 3-, 6-, and 12-month terms ($10.50, $15.50, $20.50).</span></p>
<p><span style="font-size: 11pt">About NewView Options:</span><br />
<span style="font-size: 11pt">Founded in 2008, NewView Options is a Provo, UT, firm specializing in the teaching and training of writing, for both beginners and the more advanced. The company is focused on promoting its propriety NewView approach to writing, communications, and teaching. NewView Options provides Education Discount rates for school districts. Call 1-801-373-0447, visit <strong><a href="http://secretdnaofwritingessays.com/">http://secretdnaofwritingessays.com/</a></strong>, or e-mail <strong><a href="mailto:billdrew@richcontent.com">billdrew@richcontent.com</a></strong>.</span></p>
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		<title>Crisis in Essay Writing in US &#8216;Solved&#8217; by New e-Book, The Secret DNA of Writing Essays-And Everything Else</title>
		<link>http://www.beneaththecover.com/2010/01/12/crisis-in-essay-writing-in-us-solved-by-new-e-book-the-secret-dna-of-writing-essays-and-everything-else/</link>
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		<pubDate>Tue, 12 Jan 2010 05:05:54 +0000</pubDate>
		<dc:creator>Press Release</dc:creator>
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		<description><![CDATA[<em>New e-book claims that only forms of writing are now taught in schools, not the importance of newness of content. NewView Options offers its new book and new software to help students write far better.</em>
Provo, UT &#8211; January 12, 2010 (PressReleasePoint) &#8211; The head of NewView Options, Bill Drew,&#8230; <a href="http://www.beneaththecover.com/2010/01/12/crisis-in-essay-writing-in-us-solved-by-new-e-book-the-secret-dna-of-writing-essays-and-everything-else/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p><em><strong><span style="font-size: 14pt">New e-book claims that only forms of writing are now taught in schools, not the importance of newness of content. NewView Options offers its new book and new software to help students write far better.</span></strong></em></p>
<p><strong><span style="font-size: 14pt">Provo, UT &#8211; January 12, 2010 (PressReleasePoint) &#8211;</span></strong><span style="font-size: 11pt"> The head of NewView Options, Bill Drew, makes a rather disturbing claim. &#8220;American students aren&#8217;t doing well on national writing tests.&#8221; He bases his assertion on recent studies that indicate writing skills are in decline in US schools. Drew goes on to say, &#8220;That&#8217;s why I created NewView Options, wrote The Secret DNA of Writing Essays-And Everything Else, engineered the NewView Essay Services computer program, and created a website to bring it all together.&#8221;</span></p>
<p><span style="font-size: 11pt">American students are not writing well? &#8220;That&#8217;s right,&#8221; Drew said. &#8220;In a 2003 press release ( <strong><a href="http://www.writingcommission.org/pr/pr_4_25_2003.html">http://bit.ly/NCWReport</a></strong> ), the National Commission on Writing (NCW) called for the immediate launch of a 5-year Writing Challenge to the Nation. The NCW was greatly concerned because the 2002 national results for high school writing tests were at the same low level as the same tests in 1998. Only 1 out of 5 high school seniors could write well enough to do acceptable writing (Proficient) in college. So the NCW called on all levels of government to provide more money, more computer equipment, more teachers, more training of teachers, and more time spent on writing by students in all classes.&#8221;</span></p>
<p><span style="font-size: 11pt">Did student writing improve after five years? &#8220;Not in the Proficient level, which is what the NCW is rightly concerned about,&#8221; said Drew. &#8220;The headline of an April 2008 press release ( <a href="http://nces.ed.gov/nationsreportcard/pubs/main2007/2008468.asp"><strong>http://bit.ly/2008ReportCard</strong></a> ) said, and I quote, &#8216;Scores increase in 2007 for both eighth- and twelfth-graders nationally.&#8217; That&#8217;s misleading because, when you get down into the facts of the report, it says the increases were at the Basic level, not the Proficient level. The Basic level allows serious flaws in writing, and is just above being illiterate. The Proficient level is what counts, and that was at the center of concern for the NCW in its 2003 press release. The 2008 report said there was &#8216;no significant change since 2002&#8242; for both eighth- and twelfth-graders in the Proficient level, although there was a barely significant increase over the 1998 scores.&#8221;</span></p>
<p><span style="font-size: 11pt">After 5 years, why aren&#8217;t we seeing a significant increase in writing skills across the nation? &#8220;Because schools teach only the forms of Rhetoric. Now, don&#8217;t get me wrong here,&#8221; smiles Drew. &#8220;You need form in writing, but if that&#8217;s all you&#8217;ve got, then you&#8217;ve got less than half the pie. You need the content that generates form. Writing forms don&#8217;t generate content. But that&#8217;s what&#8217;s being taught in schools across the nation &#8211; form, and rhetorical form at that, from a Greek culture that died around 2,000 years ago. There&#8217;s no theory and no process being taught in schools, to generate content across the board &#8211; except my NewView theory and methods, that is. Because of that 2008 report, I decided to make NewView &#8211; which is the real secret of the DNA of writing &#8211; available to the public.&#8221;</span></p>
<p><span style="font-size: 11pt">Drew reports that one high school teacher has been quite happily using his NewView principles for over twenty-five years (since just after Drew finished the Master&#8217;s thesis that is now the basis of his new e-book). A local elementary school teacher is also using it with his third-, fourth-, and fifth-grade students, with excellent results. The company provides several testimonials on their website, at <a href="http://secretdnaofwritingessays.com/testimonials/"><strong>http://bit.ly/SecretDNAPraises</strong></a>.</span></p>
<p><span style="font-size: 11pt">Drew&#8217;s e-book, The Secret DNA of Writing Essays – And Everything Else, is available now online at <a href="http://secretdnaofwritingessays.com/buy-the-book/"><strong>http://bit.ly/BuySecretDNABook</strong></a> for $8.50. It is also available on Amazon.com as a Kindle e-book for $9.50 (read all the positive reviews there). The companion software, NewView Essay Services, which automates part of the process in the e-book, is available at <a href="http://secretdnaofwritingessays.com/buy-services/"><strong>http://bit.ly/SecretDNASoftware</strong></a> on a subscription basis for 3-, 6-, and 12-month terms ($10.50, $15.50, $20.50).</span></p>
<p><strong><span style="font-size: 11pt">About NewView Options:</span></strong><br />
<span style="font-size: 12pt">Founded in 2008, NewView Options is a Provo, UT, firm specializing in the teaching and training of writing, for both beginners and the more advanced. The company is focused on promoting its propriety NewView approach to writing, communications, and teaching. NewView Options provides Education Discount rates for school districts. Call 1-801-373-0447, visit <a href="http://secretdnaofwritingessays.com/"><strong>http://secretdnaofwritingessays.com/</strong></a>, or e-mail <a href="mailto:billdrew@richcontent.com"><strong>billdrew@richcontent.com</strong></a>.</span></p>
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		<title>NewView Writing Concept Highlighted in New E-book and Software from NewView Options, Helping Writers to Write Better</title>
		<link>http://www.beneaththecover.com/2010/01/04/newview-writing-concept-highlighted-in-new-e-book-and-software-from-newview-options-helping-writers-to-write-better/</link>
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		<pubDate>Mon, 04 Jan 2010 06:45:12 +0000</pubDate>
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		<description><![CDATA[<em>The College Board says there’s a crisis in teaching writing to high school students. NewView Options offers its new book and its new software to help students write better than ever before.</em>
Provo, UT – December 31, 2009 (<a href="http://www.pressreleasepivot.com/">PressReleasePivot</a>) — The College Board says there’s a crisis in teaching&#8230; <a href="http://www.beneaththecover.com/2010/01/04/newview-writing-concept-highlighted-in-new-e-book-and-software-from-newview-options-helping-writers-to-write-better/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p><em><span style="font-size: 14pt">The College Board says there’s a crisis in teaching writing to high school students. NewView Options offers its new book and its new software to help students write better than ever before.</span></em></p>
<p><span style="font-size: 14pt">Provo, UT – December 31, 2009 (<a href="http://www.pressreleasepivot.com/">PressReleasePivot</a>) —</span><span style="font-size: 11pt"> The College Board says there’s a crisis in teaching writing to high school students. To help combat this crisis, the NewView Options company announces the release today of its breakthrough book on writing, The Secret DNA of Writing Essays – And Everything Else. The company has also announced the release of computer software to complement the book, NewView Essay Services, designed to automate parts of the NewView e-book. The book and software work together to help students write better than ever before.</span></p>
<p><span style="font-size: 11pt">Bill Drew, CEO of NewView Options, says, “Yes, I realize that’s a pretty audacious title on the book. But, as the saying goes, ‘It ain’t braggin’ if you can do it.’ And the book does ‘do it’ pretty well, with lots of notes at the back, providing historical and theoretical support for every assertion made in the book. But more importantly, the underlying writing principle of NewView really works with everything, and the book has plenty of examples to support each assertion.”</span></p>
<p><span style="font-size: 11pt">Drew owns up to the fact that he, himself, wrote the book. He said it’s based on research he did for his Master’s Thesis, NewView: A New Invention Method for the Essay (1982, Brigham Young University). It’s also based on Drew’s thirty years of experience, using its principles and rules to become an award-winning technical writer and editor.</span></p>
<p><span style="font-size: 11pt">If the NewView Principle of writing is so great, why did it take so long to get it into book form? “Well,” Drew says, “we’ve been raising eight kids, and that takes a lot of time, energy, and finances. I finally found the time and finances in the last year and a half to write Secret DNA. It’s been exhausting, but also rejuvenating, really.”</span></p>
<p><span style="font-size: 11pt">Drew claims that one high school teacher has been quite happily using his NewView principles to teach writing for over twenty-five years (since just after Drew finished his thesis).  A local elementary school teacher is also using it with his students, with good results. The company offers a number of testimonials on their website, at <a href="http://secretdnaofwritingessays.com/testimonials/"><strong>http://bit.ly/SecretDNAPraises</strong></a>.</span></p>
<p><span style="font-size: 11pt">“There are some student testimonials, there, too,” says Drew, “as well as some from professional writers and college-level teachers. NewView makes writing easier because it actually requires students to cope forthrightly with ‘What’s new to the reader’ with a simple but powerful process that nobody else has access to, but everyone can learn, even just using the book. The software makes it more convenient to use when you’re writing something.”</span></p>
<p><span style="font-size: 11pt">Drew’s e-book, The Secret DNA of Writing Essays – And Everything Else, is available now online at <a href="http://secretdnaofwritingessays.com/buy-the-book/"><strong>http://bit.ly/BuySecretDNABook</strong></a> for $8.50. It is also expected to be available for download through Amazon.com starting January 1, 2010. The companion software, NewView Essay Services, which automates part of the book, is available at <a href="http://secretdnaofwritingessays.com/buy-services/"><strong>http://bit.ly/SecretDNASoftware</strong></a> on a subscription basis for 3-, 6-, and 12-month terms ($10.50, $15.50, $20.50).</span></p>
<p><span style="font-size: 11pt">About NewView Options:</span><br />
<span style="font-size: 11pt">Founded in 2007, NewView Options is a Provo, UT, firm specializing in the teaching and training of writing, for both beginners and the more advanced. The company is focused on promoting its propriety NewView approach to writing, communications, and teaching. NewView Options provides Education Discount rates for school districts. Call 1-801-373-0447, visit <a href="http://secretdnaofwritingessays.com/"><strong>http://secretdnaofwritingessays.com/</strong></a>, or e-mail <strong><a href="mailto:billdrew@richcontent.com">billdrew@richcontent.com</a></strong>.</span></p>
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		<title>R-E-S-P-E-C-T, That’s What Editing Means to Me</title>
		<link>http://www.beneaththecover.com/2008/08/03/r-e-s-p-e-c-t-that%e2%80%99s-what-editing-means-to-me/</link>
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		<pubDate>Sun, 03 Aug 2008 12:00:09 +0000</pubDate>
		<dc:creator>Greenleaf Team</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[For Authors]]></category>
		<category><![CDATA[For Publishers/Agents]]></category>
		<category><![CDATA[Writing]]></category>
		<category><![CDATA[Writing/Editing]]></category>

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		<description><![CDATA[By <a href="http://www.bigbadbookblog.com/about-us/#laribishop">Lari Bishop</a>								

“I’ve heard horror stories about editors,” an author told me recently at the start of a project. Another said to me, “I was really expecting the worst during editing.” Horror stories? The worst? Really? What is going on in the publishing world that has authors dreading&#8230; <a href="http://www.beneaththecover.com/2008/08/03/r-e-s-p-e-c-t-that%e2%80%99s-what-editing-means-to-me/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>By <a href="http://www.bigbadbookblog.com/about-us/#laribishop">Lari Bishop</a>								</p>
<div class="entry">
<p><img src="http://www.gbgtexas.com/BBBNN/images/no.jpg" title="no.jpg" id="image876" alt="no.jpg" align="left" height="125" width="150" />“I’ve heard horror stories about editors,” an author told me recently at the start of a project. Another said to me, “I was really expecting the worst during editing.” Horror stories? The worst? Really? What is going on in the publishing world that has authors dreading editors and their fiendish red pencils? I know a lot of editors, and I don’t think we’re a horrible lot. Yet editors do offer up similar lamentations about working with authors: “I need to start charging a stupidity fee” or “Why won’t they just accept that I’m right.” If you’re on either side of this editorial war, I recommend you read on for some rules of engagement:</p>
<p><strong>1. The No Asshole Rule: </strong>Editors, authors aren’t trying to push every one of your buttons, and authors, editors aren’t trying to remove all of the personality from your writing. So let’s keep the snide remarks, the thinly veiled judgments, and the condescension out of the editorial process. And if you feel yourself writing a note, memo, or email in anger or frustration, wait a while and reread it before you send it on. Oh, and read The No-Asshole Rule.</p>
<p><strong>2. The Be Reasonable Rule:</strong> Yes, there are rules of grammar. And yes, there are guidelines for style. But the guidelines are just that: guidelines. They are not the Ten Commandments. Nobody will go to Hell for breaking them. And as much as I believe in the Chicago Manual of Style, think about how many ambiguous guidelines it offers up or how many changes they make from one edition to the next. So, editors, to quote my favorite style guide, “when a writer expresses a strong preference for a style that’s reasonable and harmless, there isn’t much point in fighting over it, especially if he has already prepared the manuscript consistently with that style.” And authors, give your editors a break and don’t ask them to break too many “rules.” There’s a pretty good reason for most of them, and we editors like our rules.</p>
<p><strong>3. The Mutual Respect Rule:</strong> Editing should be a collaborative process based on mutual respect. The editor should respect the author’s expertise and passion. The author should respect the editor’s expertise and passion. Let’s establish two assumptions on which to base the editor-author relationship: (1) Everybody is doing their best to create a manuscript that is as good as it can be. (2) Nobody is infallible.</p>
<p>And remember, without authors, there would be no editors, and without editors, we’d be reading books with typos, dangling modifiers, poorly executed plot arcs . . .</p>
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		<title>Braving a “Quill Flogging”</title>
		<link>http://www.beneaththecover.com/2008/04/21/braving-a-%e2%80%9cquill-flogging%e2%80%9d/</link>
		<comments>http://www.beneaththecover.com/2008/04/21/braving-a-%e2%80%9cquill-flogging%e2%80%9d/#comments</comments>
		<pubDate>Mon, 21 Apr 2008 05:05:42 +0000</pubDate>
		<dc:creator>Bill Stephens</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Substantive Edit]]></category>

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		<description><![CDATA[I boxed up my ego, my pride of accomplishment, my certainty that I am a good writer, my belief that anyone who feels otherwise simply is out of touch with reality, and submitted my first chapter of <a href="http://www.billstephensbooks.com/vamonos.htm"><em>Vamonos!</em></a>, my second novel, to Ray Rhamey’s blog  <a href="http://www.publishersmarketplace.com/members/wrrriter">Flogging the Quill</a>&#8230; <a href="http://www.beneaththecover.com/2008/04/21/braving-a-%e2%80%9cquill-flogging%e2%80%9d/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>I boxed up my ego, my pride of accomplishment, my certainty that I am a good writer, my belief that anyone who feels otherwise simply is out of touch with reality, and submitted my first chapter of <strong><a href="http://www.billstephensbooks.com/vamonos.htm"><em>Vamonos!</em></a></strong>, my second novel, to Ray Rhamey’s blog  <a href="http://www.publishersmarketplace.com/members/wrrriter"><strong>Flogging the Quill</strong></a> – “Turn the Page” critique.</p>
<p>I followed Ray’s Blog for months and learned a lot about how to get a novel out of the starting gate with a blast before my submission. The “Turn the Page” thing goes like this:</p>
<p>You submit the first sixteen double spaced lines of your manuscript, which, according to Ray, is the amount of text that should be on the first page of a novel. He reads it, and then decides if he will turn the page. If he fails to turn the page, obviously you have goofed it up in his opinion and have to go back to the word processor for a rewrite—especially if you want an agent or editor to consider your manuscript.</p>
<p>Here’s a tip:  Send him the entire first chapter, because unless he is completely bummed by your efforts, he will often continue with some free editing suggestions. I say free because Ray does editing for a living. I do not know his fees, but they probably are worth it (if you have some loose money to invest).</p>
<p>I’ve found it interesting that most of the submissions are manuscripts dealing with some element of the paranormal or futuristic fiction. Mine seemed to be the only one in some time based on contemporary real life. In fact, Ray has a bent in the direction of the paranormal as one of his novels is about a vampire cat.</p>
<p>In my opinion, Ray does a great service for the wannabee writer. Even if you do not submit your work, there’s a lot to learn from just reading his critiques on work submitted by others. He averages about two per week. You should check his site on Wednesday and Friday.</p>
<p>So how did I do with the <em>Vamonos!</em> manuscript? You can click on his link above to get the blow-by-blow, but here is the short version:  He felt <strong>the start was too slow, with too much setting and characterization</strong>. He seemed to feel the book had promise if I speeded it up.</p>
<p>Now, here’s the kicker&#8212;two days before Reading Ray’s critique of <em>Vamonos!</em>, my agent sent me a rejection letter from an editor who had just completed a full manuscript review of <em>Vamonos! </em> She liked the voice, the detail, and the sense of place, but, &#8220;<strong>From page one, everything is happening way too fast.</strong>&#8221;</p>
<p>What is a writer to do?</p>
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		<title>“I Have to Just LOVE It!”</title>
		<link>http://www.beneaththecover.com/2008/02/25/%e2%80%9ci-have-to-just-love-it%e2%80%9d/</link>
		<comments>http://www.beneaththecover.com/2008/02/25/%e2%80%9ci-have-to-just-love-it%e2%80%9d/#comments</comments>
		<pubDate>Mon, 25 Feb 2008 06:33:16 +0000</pubDate>
		<dc:creator>Bill Stephens</dc:creator>
				<category><![CDATA[Business]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[For Editors]]></category>
		<category><![CDATA[Publishing]]></category>

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		<description><![CDATA[A statement was made to my agent last month by a publisher’s editor. The editor was explaining how, in these difficult times for fiction, she determines which manuscripts she carries forward:  “I have to just love it!” was her criteria for accepting fiction manuscripts. This leads me to ask, “Why&#8230; <a href="http://www.beneaththecover.com/2008/02/25/%e2%80%9ci-have-to-just-love-it%e2%80%9d/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>A statement was made to my agent last month by a publisher’s editor. The editor was explaining how, in these difficult times for fiction, she determines which manuscripts she carries forward:  “I have to just love it!” was her criteria for accepting fiction manuscripts. This leads me to ask, “Why do <em><strong>you</strong> </em>just have to love it?” Wouldn’t it make more sense if the reading public “just loved it&#8221;?Which editor does their publisher and the reading public the best service? The editor above, or the editor who brings a manuscript before the dreaded editorial board and says, “I just hate this manuscript, but there is no doubt in my mind that it will be a bestseller and will become a cult book read by college students for decades.”</p>
<p>What the “IHTJLI” editor is saying is, unless a manuscript suits my personal biases, my literary preferences, my agendas, my background, and <em>that one thing </em>that my college professor drummed into me—then this manuscript can&#8217;t possibly have any value to <em>anyone</em>.</p>
<p>Thus, forcing the agent to carry the manuscript across the street to another publisher’s editor whose personal biases, literary preferences, agendas, background, and whose one thing that <em><strong>their </strong></em>college professor drummed into them&#8212;are all encapsulated in this manuscript. This editor just loves the manuscript and their house reaps the rewards if the book is a success.</p>
<p>After it became the biggest thing in history to hit the press and silver screen, I wonder what went though the minds of the legendary thirty-plus editors who “just didn’t love” Margaret Mitchell’s <em>Gone with the Wind</em>. What if one of those thirty-some-odd editors had brought the manuscript forward, saying, “You know, I’m just not real big on Civil War stuff, but I think this story will resonate big-time with the reading public?” That editor’s publisher would have reaped the rewards rather than number thirty-six or thirty-seven.</p>
<p>I’m curious&#8212;&#8211;how many clunkers does an editor get to bring to press before their publisher decides his or her personal biases, literary preferences, agendas, background, and the one thing their college professor drummed into them, are completely out of step with the rest of the reading world?</p>
<p>Does an editor of a romance publisher “just have to love” every sappy piece of romance writing set before them, or do they just analyze the story to see if it suits their readers? I think it’s probably the latter, and if that’s the case, then why don’t the editors of other publishers take the same approach?</p>
<p>It makes so much more sense for an editor to evaluate a submission first for whether there’s a market for the story. If the market exists, then forget that you “just don’t love it” and get the thing out there so <strong><em>the readers</em></strong> can love it.</p>
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		<title>Total Immersion &amp; Time</title>
		<link>http://www.beneaththecover.com/2008/02/01/total-immersion-time/</link>
		<comments>http://www.beneaththecover.com/2008/02/01/total-immersion-time/#comments</comments>
		<pubDate>Fri, 01 Feb 2008 06:10:04 +0000</pubDate>
		<dc:creator>Paul McCarthy</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Substantive Edit]]></category>
		<category><![CDATA[Writing]]></category>

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		<description><![CDATA[Achieving total immersion in an evolving book is one of the editor’s essential goals in beginning each new stage of editing.
By nature, immersion is a process that the editor engages in, to enter and live in the world of the book. That process and its goal of totality are&#8230; <a href="http://www.beneaththecover.com/2008/02/01/total-immersion-time/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>Achieving total immersion in an evolving book is one of the editor’s essential goals in beginning each new stage of editing.</p>
<p>By nature, immersion is a process that the editor engages in, to enter and live in the world of the book. That process and its goal of totality are like the editor’s entering a body of water from the shore, and going steadily deeper until they have reached the maximum depth.  At this point, the editor’s awareness of all that’s around, below, and above them, gives them the most understanding.  Their comprehensive perception is of all revisions, improvements, and new writing, and already established parts.</p>
<p>As often as possible, the editor begins their reading, thinking, and immersing in the latest material, when they can steadily continue, and spend enough time with the book to become totally immersed.  It’s when their awareness and thinking are at this deepest level that they can contribute the most ideas and suggestions to the author.<br />
It takes a significant amount of editorial time with the book to reach such a state of perception.  Once there, the editor should continue living, thinking, and editing in the world of the book until they’ve completed the current stage of editing.</p>
<p>When there are regrettable time constraints, or the editing is unavoidably but too frequently interrupted, the editor’s most profound possible contribution is diminished.</p>
<p>There is, though, “Always the next time.”  Ideally, during the next stage of editing, the editor will be able to prioritize, be continuous, and achieve then what they weren’t able to before.</p>
<p>*  Editorial time, then, as determined by how much can be given to the book and author as sustained, complete, or irregular, during any stage, is a major factor in what’s attainable by the editor.  For this reason, when possible, it’s better for the editor to wait until they can prioritize the editing, and do the most within that continuous, or nearly so, period of dedicated time.  When the editor decides to engage in delayed but highly prioritized editing, they clearly explain to the author how much value there is for them and their book.</p>
<p>*  Duration of time between stages of editing:  Another major determinant in how much time the editor needs to be involved is how long it’s been since they edited the previous version.  The shorter the intervals, the more and faster the editor can build on their fresher memory and understanding, and achieve full immersion.</p>
<p>If it’s been months or many months, the editor’s memory of what was is correspondingly lessened.  In effect, they’ll start as though reading and editing for the first time, as well as unifying in their comprehension the established and new.</p>
<p>In planning the amount of editorial time needed for the complete stage of editing, the editor factors in the particular passage of time, and plans to be and stay immersed for considerably longer, if necessary.</p>
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		<title>In Harmony</title>
		<link>http://www.beneaththecover.com/2008/01/18/in-harmony/</link>
		<comments>http://www.beneaththecover.com/2008/01/18/in-harmony/#comments</comments>
		<pubDate>Fri, 18 Jan 2008 06:30:55 +0000</pubDate>
		<dc:creator>Paul McCarthy</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Editors]]></category>
		<category><![CDATA[Substantive Edit]]></category>
		<category><![CDATA[Writing]]></category>
		<category><![CDATA[Writing/Editing]]></category>

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		<description><![CDATA[The author and editor are in harmony and at their most productive when they have a relationship of mutual respect, trust, confidence, dedication, and appreciation.
Establishing and maintaining such a relationship is one of an editor’s ultimate goals because it maximizes the opportunities to assist in writing and contributing to&#8230; <a href="http://www.beneaththecover.com/2008/01/18/in-harmony/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>The author and editor are in harmony and at their most productive when they have a relationship of mutual respect, trust, confidence, dedication, and appreciation.</p>
<p>Establishing and maintaining such a relationship is one of an editor’s ultimate goals because it maximizes the opportunities to assist in writing and contributing to a book.</p>
<p>Such an harmonious relationship is almost as important for authors.  They could write their whole book alone and independently, but their writing is better, more clear, confident, and easier with an editor’s support and assistance, and less lonely.</p>
<p>Trust is one of the most fundamental aspects of the relationship, and of essential importance to an author.  They must have confidence and trust in their editor’s ability to act in every way as is best for their book and for them, too.  Expanding and solidifying that trust is the result of mutual dedication and commitment.</p>
<p>As the relationship improves and increases in range through their continuing work together, author and editor attain their own perceptions:</p>
<p>1)  <strong>The author</strong> usually comes to know the character, values, and goals of the editor, and has justified confidence that the editor’s comprehension of their work together and their book is accurate and substantial.</p>
<p>As the editing continues and the author responds to it, the author determines how valuable and appropriate the editor’s thoughts are.  The author also learns how able and willing the editor is to adjust their ideas, approaches, etc., to best meet the particular needs of author and book.</p>
<p>As they work together, the author can confirm that the editor’s ambition for them and their book is at least the equal of their own, and often the author can find the editor so inspiring in vision and appreciation that the author’s own ambition is elevated.</p>
<p>*  <em>True harmony </em>requires great patience.  The author needs to be certain of the editor’s understanding that unexpected difficulties, challenges, delays, interruptions, etc., are inherent in the creative process.  Accordingly, the editor will wait, as necessary.<br />
In turn, the author gives the editor whatever time they need to produce and provide their best work.</p>
<p>2)  <strong>The ideal editor</strong> often attains deep comprehension of the author’s values, goals, character, and height of creative ambition, and is guided thereby in interacting with the author and the editing work.</p>
<p>Whatever the form of activity, aspect of the relationship, the ideal editor will express and acts with the utmost respect for the author.</p>
<p>Knowing that the author’s trust and confidence is hard-earned and never to be violated, the ideal editor will strive ever harder to provide the best and most appropriate thinking, confident that the author will react appropriately to additional needed editing, or at least consider such in proper depth.</p>
<p>*  <em>True harmony</em> results also from the mutual knowledge, experience, and trust that the author and the editor are both equally committed to maintaining the relationship at the highest levels.  Whatever difficulties may occur, they will work them out each time, making their relationship stronger, deeper, and more certain in fruitful production.</p>
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		<title>Flow</title>
		<link>http://www.beneaththecover.com/2007/12/14/flow-flaws/</link>
		<comments>http://www.beneaththecover.com/2007/12/14/flow-flaws/#comments</comments>
		<pubDate>Fri, 14 Dec 2007 14:10:56 +0000</pubDate>
		<dc:creator>Paul McCarthy</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Substantive Edit]]></category>
		<category><![CDATA[Writing]]></category>

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		<description><![CDATA[“Flow” is an important aspect of writing, giving readers a sense of moving smoothly through ideas, experiences, and concepts in text.  By definition and nature, good “flow” is achieved as author and editor eliminate all flaws that interfere with flow.  Their ideal goal is to have the reader start the&#8230; <a href="http://www.beneaththecover.com/2007/12/14/flow-flaws/" class="read_more">Read more  &#160;&#160;</a>]]></description>
			<content:encoded><![CDATA[<p>“Flow” is an important aspect of writing, giving readers a sense of moving smoothly through ideas, experiences, and concepts in text.  By definition and nature, good “flow” is achieved as author and editor eliminate all flaws that interfere with flow.  Their ideal goal is to have the reader start the book and continue through to the end without any disruptions caused by flaws.</p>
<p>As they work, an author and editor anticipate and factor in the readers’ potential responses, and revise and edit accordingly.  Most of what they do is conscious, analytical, intellectual.  However, at appropriate stages in the creative/editorial process, they apply their professional intuition and “feel.”</p>
<p>Responding to the revised/edited manuscript at elevated, subliminal levels of sensitivity, they detect all the places where the book isn’t flowing and make the necessary improvements.</p>
<p>The “flow enhancers” that author and editor establish in the final manuscript include:</p>
<p><strong> *  Consistency.</strong>  Whether it’s the themes, insights, and recommendations of a book of foreign policy analysis, or the twisting, shifting plot of a mystery thriller, all within the book should be consistent.</p>
<p><strong> *  Credibility.  </strong>In such books as novels, memoirs, and biographies, everything should be believable, logical, and, as necessary, as “factually” documented as possible—from information presented, experiences described, unfolding storylines.</p>
<p><strong>*  Progression.</strong> The strong and clear continuation, from scene to scene, action to consequences, and thoughts and information that build on and lead to new, connected insights and expanding information.  There is an overall continuity of structure and sharply defined focus that keeps all the material and storylines “on track” as the book proceeds.<strong><br />
</strong></p>
<p><strong> *  Only the right questions</strong>—as they are generated in fiction by storytelling, characters, plot, suspense, or the experiences, issues, and revelations, in a biography, memoir, or self-help book.  They are intended to make the reader think more frequently and deeply about what’s in the book, stimulate valuable insights, and unveil new elements and aspects. Whether the reader is engaged in pondering these questions while reading or during pauses, flow facilitates thinking that moves easily into and out of the book.</p>
<p><strong> * Clear complexity.</strong>  However great the creative ambition, range, and depths of the book plus consequent complexities, there is constancy of flow. With the best transitions and all other elements in place, no matter how much or swiftly the story, subject, or “course direction” changes, the flow easily facilitates the reader’s every adjustment.</p>
<p><strong> *  Unity.  </strong>With all the themes, elements, aspects, motives, etc., unified from beginning to end, highest to basic, the reader is on a well-defined journey of understanding.  They conclude their reading by arriving at the end with the ease, rewards, thoughts, questions, and excitement intended by the author when flow is properly honed and enhanced.</p>
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